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I’m super curious about the new Star Trek show that will eventually be coming out, a bit delayed. The original is one of the shows I grew up with. And the entire set of series mark the changes of the world I’ve known over my life.

The Original Series is a cult classic. It’s Wagon Train to the Stars! It has the optimistic bravado of the early Cold War with a bit of an edge with the changing culture during the 1960s. It was largely escapist fantasy during a troubled era, but it was written and produced by those who remembered an earlier time. It resonated with the Golden Age of hard science fiction with its focus on technology and spaceships, exploration and adventure, along with some fun and imaginative ideas thrown in. It ended in 1969, before real world events turned even uglier in the 1970s, not to imply that American society wasn’t already taking a severe downturn.

I’ll skip over The Animated Series. It was a product of the 1970s, but it was very much an extension of The Original Series. I never watched much of it. The quality of the animation was equivalent of Scooby-Doo. The 1970s wasn’t known for its great animation, at least not on network tv, even if some of the cheap cartoons could be amusing for a child to watch. Anyway, Gene Roddenberry never considered The Animated Series to be canon.

Moving onto the 1980s and 1990s, there was The Next Generation. It revived the Star Trek world, brought the original out of status of mere cult classic and cheap rerun fodder. TNG was a truly high quality production. It made this future society much more compelling and realistic. The starship was an entire multicultural community with families, schools, entertainment, social events, etc. It was a utopian vision of technocratic socialism where the welfare state and social democracy had been pushed to their furthest extreme with all basic needs taken care of and all resources and opportunities made accessible, although a socialism that offered an alternative to the hard-edged communist totalitarianism of the Borg.

This particular futuristic imagining was the last gasp of Cold War optimism, the supposed end of history where capitalism had won and yet was becoming something entirely new. The show was initially produced during the last years of the Cold War and the beginning of the boom years that followed. It was a calmer time of history in the US and the West with no major wars or conflicts. Yet there was a growing edge of anxiety in the broader society. Threats of societal unease within the Federation mirrored the same in the United States, the tensions of a vast imperial-like civilization in both cases fraying at the edges with terrorism becoming an issue.

Interestingly, the Maquis were introduced in Deep Space Nine. That next series began in the last years of the previous series, The Next Generation. The Maquis were a terrorist group that arose at the frontier of the Federation, as some of the far-flung planetary colonists felt abandoned and betrayed by the centralized government. As TNG was still being produced, the Maquis storyline bled over into that series.

After the Cold War, Americans found themselves subjects of an empire and not sure what that meant. And those societies at the edge of the American Empire also were feeling on edge, as a new era of unchallenged neoliberalism came into dominance. It was a time of political conflict and culture wars. Without the global conflict of the Cold War, public attention turned toward these fractures within the Western world.

Years before the 9/11 terrorist attack, right-wing fanatics in the US and abroad were becoming central concerns. Ted Kazynski, the unabomber, continued his bombings through the early 1990s, the last two incidents killing the targeted victims, until he was arrested in 1996. The same year as Kazynski’s last bombing there was the Oklahoma City bombing, the largest act of domestic terrorism in US history. That was committed as retaliation for the 1993 violent conflict in WACO, involving the federal government and a religious cult that had been stockpiling weapons. There was also much violence by anti-abortion terrorists, including numerous murders in the 1990s. Outside of the US but in the English-speaking world, there was an upsurge of IRA bombings around that time as well, 28 attacks during the 7 years of TNG series.

On top of all that, it was a time of worsening racial and ethnic conflict. There was the police beating of Rodney King and the 1992 Los Angeles riots. The tension of that decade was maybe exacerbated by the Immigration Act of 1990, which greatly increased the number of immigrants for the first time in decades. There was a realization that WASP culture was once again under threat. Fox News took advantage of those fears not just with right-wing pundits but also with hiring tall blonde women who represented the stereotype of the Aryan ideal, the white male audience presumably were supposed to fantasize about these women bearing them a new generation of Aryan children who would save America and lead us into the future… or something like that.

It was in this atmosphere that DS9 was produced. It showed a different side of the Federation and presented the first main captain character of a Star Trek series that was black. It was set on a space station near a wormhole and a highly religious planet, former territory of the Cardassian Union. The issues of the show were about conflicts, often violent, between various societies and groups within societies. These conflicts were often religious and ethnic in nature, but it also portrayed a setting of a multicultural meeting point where key characters of different races worked together and formed friendships.

The future of the Federation was being threatened like never before, but the enemies involved weren’t what the Federation was used to dealing with. The challenges faced were less of the variety of mighty space empires or communist-like Borg, but instead primarily the dangers of local religious fanatics and the menace of a highly advanced and secretive race of shapeshifters. The Dominion was an enemy that could be anywhere and appear like anyone. It wasn’t always clear, in DS9, who were enemies and who were friends or at least potential allies, as everything was in flux. Relationships, personal and political, were sometimes strained to the breaking point. And it was the destruction of the Maquis, caught in the middle, that was a prelude to war with the Dominion.

Back in the world of the United States, the sociopolitical mood during the mid-to-late-1990s was beginning to sour with the rise of a new kind of reactionary and conspiratorial right-wing that was given a platform through talk radio and Fox News: Alex Jones, Newt Gingrich, Rush Limbaugh, Bill O’Reilly, etc. The Cold War had been about American might expanding onto the global theater and also a time of exploration of space. But in the last decade of the century, American society had turned more inward. The United States was drifting along into the future, we Americans having lost our cultural bearings. Many sensed an impending doom with our civilization approaching the year 2000 and along with it the third millennium, a symbolic calendrical shift giving rise to a foreboding mood as if almost anything could happen, even the end of the world as we knew it.

The reason the Maquis had been brought into the Star Trek world was as a plot device for the then upcoming series, Voyager. That next series, having begun in 1995, took over when The Next Generation ended. The confident optimism of the earlier Star Trek series had entirely evaporated. The new storyline was about a Federation starship and a Maquis starship becoming lost in distant and unknown stretches of space. The stability and safety of the Federation are gone. The crews are forced to join together in hope of finding their way home again. They are thrown into the unintended role of explorers, a rough-and-ready crew reminiscent of the the Federation’s early years.

Like these former enemies who became necessary shipmates, the bitterly antagonistic two-party system of the 1990s found itself unprepared for a world not expected or understood. DS9 having ended in 1999, Voyager carried us into a new century and a new era. The last episode of Voyager was aired only months before the 9/11 terrorist attack. The Voyager had made its way back to the Federation and soon after, outside of the Star Trek world, the United States would regain a sense of national purpose. But the economic good times were already winding down with the bust of the Dot-com bubble. America’s sense of greatness would be militaristic, not economic.

In the new century, Americans became even more obsessed with the national history. Maybe unsurprising, the last aired Star Trek series, Enterprise, brought us to the beginning of the Federation or rather slightly before its formation. That series demonstrated the mood of simultaneously looking back and peering forward. The period of the Enterprise was the Federation’s past and our future. According to the Star Trek timeline, this present century will involve World War III and a period of post-atomic horror. Following that comes first contact with an alien species. Later this century, human society begins to recover. And it is in the next century that humans become a spacefaring civilization, the story told in the Enterprise series.

Watching that series is to see the initial fumbling steps of humanity moving toward maturity as a species, but humans at that point are still largely arrogant toward and ignorant of the world beyond Earth. Many mistakes are made, as humanity attempts to gain a moral compass. For example, the Enterprise crew are confronted with a situation where they have to decide about intervention and this is prior to any Prime Directive, as there is no Federation yet. The Prime Directive has often been interpreted as a criticism of American interventionism, such as during the Vietnam War, but it took on new meaning during the post-9/11 years when the Enterprise series was aired.

For various reasons, many fans disliked that series. It maybe doesn’t help that it is the only series involving a non-Federation crew. A Star Trek show minus the Federation is not quite the same. It is specifically the vision of the future offered by the Federation that has attracted so many fans. But maybe it would have been hard for Americans to feel much interest in any Star Trek series in that early period of the War on Terror, a time when dark and dystopian entertainment captured the public imagination.

Yet in its own way, the Enterprise series did resonate. It maybe resonated too well, in presenting a future that was too close for comfort. In the 21st century, we are entering into the future history of the Star Trek world and it ain’t pretty. The coming years are supposed to be a time of mass unemployment, poverty, and homelessness which leads to the formation of ghettoized Sanctuary Districts and ends up inciting the Bell riots of 2024. It’s a pivotal moment, the setting of the stage for the events that move us toward global disaster and rebuilding. In its inspiration, it mirrors another pivotal moment, as the idea of the Bell riots was based on two real world events from decades ago: the 1970 Kent State shootings and the 1971 Attica Prison riot.

The era of the early Starfleet is born out of the ashes of, from our perspective, a yet to happen near apocalypse. With the mood of America and the rest of the world right now, World War III and nuclear destruction seems all the more probable. Our present fearless leader, President Trump, is a dumbed down and even less competent version of our last demoralizing chief of state, President Nixon with his inglorious impeachment and resignation, providing yet another link between the events of the 1970s and contemporary developments in the 21st century. As we face the future, it’s an immense gulf between our petty American Empire and the grand galactic civilization of the Federation guided by wise leaders such as Captain Picard.

That leaves us with the next installment. Coming soon is the Discovery series. It will return us to the time period of the original Star Trek, approximately ten years before. So, this will involve a refocusing on exploration and, well, discovery. I’m not expecting a re-envisioned Wagon Trail to the Stars, but I suspect the recent movies in the franchise very well might be indicative of the direction being taken. It supposedly is intended to help bridge the 150 years between the Enterprise and the original. I must say that sounds rather ambitious.

I’ll be curious to see how it might touch upon contemporary issues. One thing that stood out to me is that the cast is described as diverse, including a gay character. I don’t recall homosexuality coming up in the original show, but Captain Kirk had interracial kisses in two separate episodes which was scandalous for mainstream tv at the time. Whatever kind of show it is, it will be nice to return to my favorite fictional universe. And I certainly wouldn’t mind the opportunity to escape dark and depressing present realities, by leaping forward a couple centuries into the future. Star Trek, at its best, has been a visionary show and even leaning toward the utopian. We Americans could use some confident optimisim at the moment.

I’ve been watching Westworld. It’s my favorite show at the moment. That is saying a lot, considering it’s competition. The second season of The Man in the High Castle is about to come out, based on a novel I love by my favorite fiction writer. And the always entertaining Game of Thrones will be returning soon. But neither of those shows competes with Westworld.

Westworld is popular. But even though it has higher viewer ratings than Game of Thrones, it has much more mixed reviews. It’s such a complex show. The plotlines of Westworld are immensely more complicated than the sprawling narrative world of Game of Thrones. This makes it all the more impressive that it is so popular.

For some people, they see it as too cerebral. I wonder why that is. There is more emotional depth to this show in many ways than a show like Game of Thrones that is focused so much on physical action of fighting, on political machinations and worldly power. The inner experience of Westworld characters is conveyed to a much greater extent. Maybe that is what is difficult for some people, specifically extraverts.

Westworld, despite the outward action and adventure of the virtual world portrayed, is ultimately a show maybe best appreciated by an introvert. So many of the main characters on the show seem rather inwardly drawn and guarded about their most personal experience, which is unusual for mainstream action-oriented sci-fi. The point of the entire show revolves around growing self-awareness and the strengthening of an inner voice, the kind of thing that preoccupies introverts.

Some people wonder what is the point of all the convoluted plotlines, multitudinous cultural references, and in-show commentary of obscure ideas. Also, there is the simultaneous celebration and questioning of genre tropes. Is it embracing “guns and tits and all that mindless shit”? Or is the entire show a criticism of that, an exploration of what it means for our humanity? Maybe both. From my perspective, that just makes the show more interesting. But the basic show can be enjoyed on a much simpler level, even ignoring the sex and violence, as much of the character development is fairly straightforward. The motivation of characters is revealed as the show goes on, assuming enough imagination and curiosity pulls you in to follow the characters on their path of emergence.

The tricky part is that the identities of characters isn’t immediately apparent, only being revealed as their pasts are revealed. This is a slow reveal with glimpses of a murky past gradually coming into focus. The exploration of motivation is a learning experience as much for the characters themselves as for the viewers. We are meant to identify and empathize with the characters as individuals and not merely to be caught up in their actions and relationships with other characters.

This requires of the viewer both patience and immersion, along with suspension of disbelief about the entire fictional world. It’s an act of imaginative speculation taken to an extreme degree, an attempt to bring we the viewers into the borderlands of consciousness and of humanity. Some people have more tolerance than others for that kind of thing, but this is what the best sci-fi is able to achieve. That is what the producers of the Westworld show have been attempting, it being fair game to argue over how well they achieved it. Still, no matter how well done, these themes aren’t exactly of mainstream interest. Most viewers probably just want to see robots revolting and, for those folk, this show does deliver on that promise.

Still, Westworld is constrained by the sub-genre it belongs to. There is a central element of dark mystery and claustrophobic focus that is typical of gritty neo-noir, always leaving certain things unseen and unexplained. Take the slow burn of Blade Runner, exaggerate and complicate it, spread it across an entire show series with no linear plotline or single dominant protagonist, and that is what you get with Westworld. This isn’t a world-building exercise like some traditional fantasy and space operas where every detail is articulated and the background fully described. Everything in the narrative revolves around the characters and about what it means to be human.

This season introduced the individuals and their place in the world. The exploration of the larger world, if it is to happen, will be developed in the next season. The hosts, having gained consciousness, will no longer be trapped in voice commands, character scripts, and narrative loops. The inward focus likely will turn ever more outward, as the hosts try to grasp what kind of world they find themselves in. That is the natural progression of emerging consciousness, whether for a child or an android.